text by Oliver Maxwell Kupper

Most people know Tim Heidecker from his brilliant Adult Swim series ‘Tim & Eric’s Awesome Show, Great Job!’ and ‘Tim & Eric’s Bedtime Stories.’ While it’s easy to use colorful adjectives to describe his brand of humor, it’s even harder to define it. Whatever it is, he’s developed a massive cult following. He’s an everyman that blends a sort of slobbish machismo with the mind of a stoner philosopher, but there is also something sinister about his wit and irreverent spin on, well, everything. Like every great comedian, Heidecker doesn’t identify himself as one. His role in Rick Alverson’s 2012 film The Comedy proves Heidecker is a brilliant, natural actor with an ability to show a haunting, dispossessed vulnerability that encapsulates a very distinct ennui and disillusionment belonging to the comedown between youth and middle age. As he gets wiser, Heidecker exudes a certain suburban boredom – a boredom that he makes seem exciting in his new album In Glendale. It’s a true ode to the singer songwriters, like Warren Zevon, Harry Nilsson, and Randy Newman, who wrote about their surroundings and life with a beautiful banality. Because it’s Harry Nilsson or Zevon or Newman, it works, and just like that, Heidecker can pull it off too. I got a chance to chat with Heidecker about comedy, music, getting stabbed in the back and dream projects that haven’t materialized yet.

OLIVER KUPPER: The new album is great, by the way. I really enjoyed it.

TIM HEIDECKER: Thank you. That’s a good place to start.

KUPPER: Yeah, compliments are a good place to start. This is your first somewhat earnest album, right?

HEIDECKER: Uh huh, whatever that means.

KUPPER: What’s it like writing songs versus writing comedy? Is there a different wavelength you need to be on?

HEIDECKER: I don’t know. Songwriting is a little more meditative. Obviously, it involves an instrument usually - singing, playing guitar, playing piano, noodling around, finding phrases and subject matter. It’s something that I’ve done for years as a hobby or a way of clearing my brain of other stuff. It can be spontaneous; you can be sitting in a car with other friends and start singing something catchy. Comedy is generally driven by a project. What are the ultimate goals of this? It involves a lot more people, a lot more collaboration. I’m very productive when I’m in collaboration with comedy. I don’t sit around and dream up amazing ideas all day long. It generally involves getting lunch or going on a road trip. It’s doing something where there’s a conversation with a buddy – Eric, Gregg [Turkington], or Doug [Lussenhop]. Someone I’m close with. Music is more singular.

KUPPER: Were you craving that singular, cathartic experience?

HEIDECKER: Not really. With this record, I had always written lots of music. Certain songs would end up in a folder on my computer. Like, I don’t really know what this is. It might not be appropriate for comedy. It’s not really funny; it’s sort of sincere. I was reluctant to share that publicly. But once the first couple of songs on the record starting coming out of me, I thought, there’s a theme here that kind of works. It might be nice to put a record out without it being couched in a joke or a character.

KUPPER: How did you team up with [Jonathan] Rado from Foxygen?

HEIDECKER: Through Chris Swanson, who runs Secretly Canadian. I had known him for a while. Those guys financed the movie that I was in, The Comedy. We were friendly. He was a big fan of our work. He knew I was doing music, and he nudged me to take a stab at making records in a more current or straightforward way. He was curious to see what I could do if I did something outside of parody, if I could be a pop music guy that was doing interesting stuff. Rado and I connected on very similar interests in music - 70s singer/songwriter stuff. I love talking about the process, how those guys got the sounds they got, and getting back to that straightforward songwriting. He just wanted to help and be involved.

KUPPER: He’s super talented. That band is really great. Who were some of the singer/songwriters at the top of that list that you would talk about?

HEIDECKER: For me, it’s Randy Newman, Warren Zevon, Harry Nilsson - the greats, the big ones. I’ve been really enjoying them for the past several years now.

KUPPER: I’m obsessed with Harry Nilsson. When you decided to go in and make this album, did you feel like you had enough songs? Did you throw yourself in the studio and see what you could come up with? Half and half?

HEIDECKER: The process by which this record was made may be interesting, maybe not. Half the songs were written in a period of a month or so. The other half were songs I had written over the years; they didn’t fit into any one category. I had my little home recording studio. I would try to build up the track. You know, not just me and the guitar, but drums, bass. It’s a fun way to work, to build tracks, and getting it to sound good, but never that good. I’m not that good at it. I made a demo version of the album at home. It was in the order of all the songs, with a couple extras. I took this home demo to Rado and his garage, and we started making the songs from scratch at his place. He’s such a great piano player and drummer. We recorded on tape, and we had four or five demos out of that. But they were still demos; they weren’t what we both wanted, which was really clean studio, major-label-sounding recordings. So we took those demos, and I gave them to my band that I play with live - City City. They learned the demos, and then we went into a real recording studio. In the course of a week, we laid everything down. Very quickly, because we knew all the sounds and what we wanted to sound like. We wanted the level of professionalism and the clean sheen that those 70s records had.

KUPPER: You work with a lot of musicians. It’s like a ten-piece band, right?

HEIDECKER: Yeah, there’s a ten-piece band that I put together. It’s mostly that band, City City, and a little horn section. It’s a little bit extravagant; there’s two background singers, two electric guitar players. I could probably shave that down if I needed to. But right now, everyone just gels. They all came in and brought their own talents to the record. I’m very grateful.

KUPPER: Do you think the audience for your music is different from your comedy audience? Your comedy following is big. Will the same people come out for your music, do you think?

HEIDECKER: For right now, a large percentage of my fans will find me through comedy. With this record, we’re trying to present it to the largest group of people possible. I think some people who are coming on board either didn’t know or didn’t care for my work, but they like the music. It’s not intended just for the fans; it’s intended for people who like the music. I get a lot of, “Oh, this Tim Heidecker record is actually pretty good.” They’re surprised. Some fans who have been following me a little closer aren’t surprised because they know that I am a big music lover and music maker. That early music might be sillier, but it has the same core qualities.

"I don’t necessarily identify myself as a “comedian.” I do comedy, I do standup and sketch comedy. I make all kinds of stuff. But I don’t concern myself with what to call it or how I should be perceived...I think it’s unfortunate that we expect people to stay in their lanes."

KUPPER: It’s interesting. Not a lot of comedians can bounce between these different mediums and be taken seriously. Especially when it comes to acting. Your role in The Comedy was a really serious role. There are certain actors, like Robin Williams, whose acting is so good that you don’t necessarily think of them as a comedian anymore. Do you ever think about the implications of being too serious?

HEIDECKER: It’s a thing that’s put on us by journalists and certain people that have perceptions of what people are supposed to do. It doesn’t affect my decision making when I decide to do something or not. I generally try to do something based on the desire to do it, whether or not I think it will have quality and be successful. I don’t necessarily identify myself as a “comedian.” I do comedy, I do standup and sketch comedy. I make all kinds of stuff. But I don’t concern myself with what to call it or how I should be perceived. If anything, it’s more interesting to have different facets and abilities. I think it’s unfortunate that we expect people to stay in their lanes. Actors, musicians, directors, whatever - most of us started out just wanting to make stuff, to do something creative. There was more of a push towards doing comedy, for me. But I still have interest in lots of stuff. As long as there’s a market for it, I want to pursue those things. I also understand that there is context. There’s a challenge when someone who is usually a country singer comes out with a rap album. It’s going to be hard. But some people can do it really well. I admire Steve Martin. He can be silly, very serious and intellectual, he can play music and go on tour. I just hope that you can place this record of mine in the context of my larger body of work and say, “This guy has ideas. He has an interest in expressing himself in different ways.”

KUPPER: There’s a lot of freedom in that. If you see yourself as an artist and not specifically in one lane, you can do anything, even if there’s not a market for it.

HEIDECKER: I want to have that reputation, that you don’t know exactly what to expect when I present something. It should, theoretically make you more interested in what I’m doing next.

KUPPER: You still maintain the cult comedian aura. Is that something that you try to hold onto, or is it a natural progression of you as an artist?

HEIDECKER: It’s all just been fun, playing with identity and the media, trying to create work that leaps the dimensions of television or linear video. It’s been more fun, for On Cinema, to let those characters have a life outside the show. This record, though, is really straight. There’s really not an angle for me to be anybody but myself. If there’s something stupid, like something from the Tim and Eric Show, the work speaks for itself. Let’s just party.

KUPPER: Do you feel like you get a lot of stupid questions? Do you like doing interviews?

HEIDECKER: It depends. It’s interesting to see the spectrum of people who are interested. Our publicist works very hard to get as much press as we can. My attitude has always been, do as much as you can. You never know when someone is going to read something out of the blue, and it turns into their favorite thing. But there are so many young people doing this who don’t seem interested. Like, I had a kid come to the Decker screening, and he ran out of questions for me in, like, a minute. I don’t know if this is the best career choice for you if you can’t think of any questions. He’s like, “Yeah, my editor wanted me to talk about Trump.” He asked me three questions about Trump, and then he got tongue-tied.

KUPPER: They want clickbait.

HEIDECKER: Yeah. But generally, if there’s someone like you, someone thoughtful and interesting, I think it’s pretty harmless. It helps me figure out what the hell I’m doing. You can make stuff, but you don’t really analyze it too much until you start talking to someone about it.

KUPPER: It’s interesting how that works. That’s why real criticism is important, too. People are too focused on clickbait, and they don’t think that the most interesting thing is to analyze the work and talk to the artist to find answers.

HEIDECKER: I think some criticism tends to be very quick, not thoughtful, not researched. The negative criticism I’ve gotten has usually come without a frame of reference to me or my work. It’s a very easy, “This is just Dad rock.” I’m insecure with that person, who doesn’t know the context. It’s safer and quicker to go with a buzzword that they just heard.

KUPPER: You’re premiering Decker next week?

HEIDECKER: Yes, Friday the 17th.

KUPPER: And you’re working with Gregg Turkington again, which is great. What’s that experience been like?

HEIDECKER: Gregg and I have known each other for about 10 years now. I was such a huge Hamburger fan. I roped him into doing our show. Our wives get together. We’ve got kids who are the same age. We just share a lot of common interests. Once we started doing this On Cinema thing, it seemed like we found this endless well of material that we could keep feeding and growing and developing. We established these two characters that are so fun to write for and behave as. It keeps entertaining us, this world. And it keeps getting bigger, because we keep adding fuel to it. Also, he’s just a nice guy. I’m so grateful to do this. On the TV show, we were able to elevate things a little bit. We were doing it as a full time thing. It was one of the most stress-free, joyful experiences. Everyone doing it loves it. It’s an easy thing to make. It’s so shitty. It’s not like you’re doing tons of takes and waiting for the perfect light. There are very little bad vibes in that environment. At my age, you want to be around that kind of energy as much as possible.

KUPPER: Especially in collaborations.

HEIDECKER: Yeah.

KUPPER: It’s been ten years since you had that famous interaction with your neighbor [where he stabbed you in the back]. Do you still think about that, or is it ancient history at this point?

HEIDECKER: Strangely, I’ve been thinking about it lately. Not to pat myself on the back (and not to be ironic), when that kid did that to me, I didn’t want to press charges. It felt like such a futile thing to do. He was 19 or 20 years old. He was on some insane drug. If he was going to go to jail for a significant amount of time, he would end up way worse. He’d be a bigger problem to the world. He ought to be given another shot. Those with white privilege are treated with more leniency, and that’s not fair, but it shouldn’t be, “Let’s throw this kid in a dark cell for the rest of his life.” It should be, how can we give disadvantaged kids better opportunities? We need to look at the prison system as not the answer to our problems. It’s a heavy thing. When you’re actually faced with the choice to punish somebody, it’s a hard thing to do. If you know anything, the prison system is designed to fail. It doesn’t make any sense.

KUPPER: You have to rehabilitate.

HEIDECKER: Yeah.

KUPPER: Do you have any dream projects that haven’t materialized yet?

HEIDECKER: We’re kind of doing it all. The more of an audience you have, the easier it is to do all these things. That’s the challenge, to get the word out, to get people to tune in. The futility of that is I know I don’t have a lot of power there. It either connects with a larger group of people, or it doesn’t. To answer your question, the next record I want to do, we want to bring in some of the guys that actually played on those old records who are still around. People like Jim Keltner, those guys who are still doing sessions and available. I would love to go in with Murderer’s Row and the people who made that, just to do it, because you can. I think that adds a whole other level.

KUPPER: I look forward to that, for sure.

[helicopter-like sound]

HEIDECKER: Cool. My helicopter is here, so I guess I got to go.

Tim Heidecker's new album, In Glendale, is out now on Rado Records. Text and interview by Oliver Maxwell Kupper. Photographs by Cara Robbins. Follow Autre on Instagram: @AUTREMAGAZINE